I have to say it was great to see Alexandre Singh in action. When I tried to look up his work before the lecture I didn't really understand what he was doing. The idea of using a lecture format for artwork is interesting. It kind of turns the idea that art should speak through it's content without needing to be explained on it's head. The entire presentation is an explanation but it's the the artwork. During the presentation I kept thinking of how his performance was almost like a film. The images of the projections functioned almost like a montage.
The piece that I was most interested in after hearing him talk about it was "The Marque of the Third Stripe." Again this was a project that I didn't really understand from trying to look it up, but I think it is amazing. I love his ideas of writing an alternate history and creating his own pictorial language for that world.
Three Words: Meticulous, Energetic, Storytelling
Questions:
1) How did you come to storytelling as an artform?
It seems like it was just what he ended up doing. He is a tremendous speaker.
2) In trying to guide your audience do you try to leave room for their interpretations or is it more rigid than that?
I feel like his presentations and narratives are fairly rigid but with the lectures he builds his ideas up at a pace that you can't help but be pulled into it.
Monday, November 15, 2010
Competition Entries.
So far I have entered two competitions this semester.
The Center on Contemporary Art Seattle 2010 Annual.
The VMFA Fellowship Grant.
The Center on Contemporary Art Seattle 2010 Annual.
The VMFA Fellowship Grant.
Sunday, November 14, 2010
Artist: Shane Lavalette
With the shift in focus for my project I have been trying to find artists that have work that deals specifically with place. I think Shane Lavalette's New England series are a brilliant example of a body of work that deals with a regional aesthetic. Eventually I would like my project to encompass more than just Virginia or the south but for the time being I'm striving to create a feel for place such as Lavalette achieves with this work.
Bio:
Shane Lavalette (b. 1987, Burlington, VT) currently lives and works in Somerville, MA. He received his BFA from Tufts University in partnership with The School of the Museum of Fine Arts, Boston. Lavalette's photographs have been exhibited widely, including recent exhibitions at Montserrat College of Art Gallery, The Carpenter Center for Visual Arts at Harvard University, The Center for Photography at Woodstock and The Museum of Fine Arts, Boston. In 2009, he was awarded the Yousuf Karsh Prize in Photography. His editorial work has been published in various magazines, including The New York Times Magazine, Vice and SLASH. Lavalette is also the Publisher and Editor of Lay Flat.
Selected Exhibitions
2010 reGeneration2: Tomorrow’s Photographers Today, Les Rencontres d'Arles, Arles, France, July 3–13, 2010
reGeneration2: Tomorrow’s Photographers Today, Musée de l'Elysée, Lausanne, Switzerland, June 19 – Sept. 26, 2010
One Hour Photo, American University Museum at the Katzen Arts Center, Washington, DC, May 8 – June 6, 2010
SRAUNUS, One Evening Exhibition of Projected Photographs, Vilnius, Lithuania, May 5, 2010
America Now, Montserrat Gallery, Beverly, MA, Feb. 5 – April 10, 2010
Getting Acquainted, Johalla Projects, Chicago, IL, Jan. 8 – 24, 2010
2009 Blind Spot Benefit Auction 2009, X INITIATIVE, New York, NY, Dec. 15, 2009
InsideOut: The Museum School Art Sale, School of the Museum of Fine Arts, Boston, MA, Nov. 18–22, 2009
Ladies and Gentlemen, The Carpenter Center for Visual Arts, Harvard University, Cambridge, MA, Nov. 2 – 29, 2009
Simply the Best, Museum of Fine Arts Boston, Boston, MA, August 5 – October 18, 2009
Liar, Liar, Liars!, PENNBRICK Gallery, Santa Fe, NM, July 31, 2009
Photography Now 2009, Center for Photography at Woodstock, Juror: Charlotte Cotton, June 13 – July 26, 2009
Graduating Students Exhibition, School of the Museum of Fine Arts, Boston, MA, May 17 – June 5, 2009
Senior Projects, School of the Museum of Fine Arts, Boston, MA, May 14–21, 2009
Emerging Photographers Auction, Daniel Cooney Fine Art, New York, NY, Jan. 2–21, 2009
2008 The Troposphere, The Hampshire House, New York, NY, Dec. 11, 2008 – Jan. 4, 2009
InsideOut: The Museum School Art Sale, School of the Museum of Fine Arts, Boston, MA, Nov. 19–23, 2008
Unseen Slideshow Night, Backlit Gallery & Studios, Nottingham, England, Nov. 21, 2008
Meet Waradise: Fjord, Meet Waradise, New York, NY, Nov. 19, 2008
Fabric of Reality, William Morris Hunt Library, Museum of Fine Arts, Boston, MA, Nov. 5, 2008 – Feb. 15, 2009
Lions Never Sleep, Champions Never Cry, SATIN SATAN Gallery, Chicago, IL, March 29 – April 25, 2008
Slideluck Potshow XI, Chelsea Art Museum, New York, NY, March 29, 2008
2007 A Field Guide to the North American Family: The Exhibition, Gallery Bar, New York, NY, Dec. 6, 2007 – Jan. 2, 2008
Take Us Anywhere, But Take Us Now, Warehouse Gallery, Washington, DC, May 12–31, 2007
Instant Nostalgia, Bear Gallery, Montserrat College of Art, Beverly, MA, April 6 – 20, 2007
Student Annual Exhibition, School of the Museum of Fine Arts, Boston, MA, Feb. 27 – March 14, 2007
Hijacking the Future: Hugs and Kisses, School of the Museum of Fine Arts, Boston, MA, Feb. 22 – March 22, 2007
2006 Photography Now, Juror: Henry Horenstein, South Shore Art Center, Cohasset, MA, Sept. 8 – Oct. 22, 2006
Awards / Grants
2010 Nominee, The Baum Award, Baum Foundation, 2010
Nominee, The Infinity Award, International Center of Photography (ICP), 2010
2009 Silver Eye Center for Photography Fellowship, Honorable Mention, 2009
Artist Grant, Puffin Foundation, Ltd., 2009
Yousuf Karsh Prize in Photography, Museum of Fine Arts, Boston, 2009
Travel Grant, Museum of Fine Arts, Boston, 2009
2008 PDN Photography Annual 2008, Winner, 2008
Project Grant, Museum of Fine Arts, Boston, 2008
2007 Travel Grant, Museum of Fine Arts, Boston, 2007
2006 Bob East Photojournalism Scholarship, NPPF, Winner, 2006
NFFA Arts, Merit Award in Photography, 2006
Artist Website: http://www.shanelavalette.com/
Bio:
Shane Lavalette (b. 1987, Burlington, VT) currently lives and works in Somerville, MA. He received his BFA from Tufts University in partnership with The School of the Museum of Fine Arts, Boston. Lavalette's photographs have been exhibited widely, including recent exhibitions at Montserrat College of Art Gallery, The Carpenter Center for Visual Arts at Harvard University, The Center for Photography at Woodstock and The Museum of Fine Arts, Boston. In 2009, he was awarded the Yousuf Karsh Prize in Photography. His editorial work has been published in various magazines, including The New York Times Magazine, Vice and SLASH. Lavalette is also the Publisher and Editor of Lay Flat.
Selected Exhibitions
2010 reGeneration2: Tomorrow’s Photographers Today, Les Rencontres d'Arles, Arles, France, July 3–13, 2010
reGeneration2: Tomorrow’s Photographers Today, Musée de l'Elysée, Lausanne, Switzerland, June 19 – Sept. 26, 2010
One Hour Photo, American University Museum at the Katzen Arts Center, Washington, DC, May 8 – June 6, 2010
SRAUNUS, One Evening Exhibition of Projected Photographs, Vilnius, Lithuania, May 5, 2010
America Now, Montserrat Gallery, Beverly, MA, Feb. 5 – April 10, 2010
Getting Acquainted, Johalla Projects, Chicago, IL, Jan. 8 – 24, 2010
2009 Blind Spot Benefit Auction 2009, X INITIATIVE, New York, NY, Dec. 15, 2009
InsideOut: The Museum School Art Sale, School of the Museum of Fine Arts, Boston, MA, Nov. 18–22, 2009
Ladies and Gentlemen, The Carpenter Center for Visual Arts, Harvard University, Cambridge, MA, Nov. 2 – 29, 2009
Simply the Best, Museum of Fine Arts Boston, Boston, MA, August 5 – October 18, 2009
Liar, Liar, Liars!, PENNBRICK Gallery, Santa Fe, NM, July 31, 2009
Photography Now 2009, Center for Photography at Woodstock, Juror: Charlotte Cotton, June 13 – July 26, 2009
Graduating Students Exhibition, School of the Museum of Fine Arts, Boston, MA, May 17 – June 5, 2009
Senior Projects, School of the Museum of Fine Arts, Boston, MA, May 14–21, 2009
Emerging Photographers Auction, Daniel Cooney Fine Art, New York, NY, Jan. 2–21, 2009
2008 The Troposphere, The Hampshire House, New York, NY, Dec. 11, 2008 – Jan. 4, 2009
InsideOut: The Museum School Art Sale, School of the Museum of Fine Arts, Boston, MA, Nov. 19–23, 2008
Unseen Slideshow Night, Backlit Gallery & Studios, Nottingham, England, Nov. 21, 2008
Meet Waradise: Fjord, Meet Waradise, New York, NY, Nov. 19, 2008
Fabric of Reality, William Morris Hunt Library, Museum of Fine Arts, Boston, MA, Nov. 5, 2008 – Feb. 15, 2009
Lions Never Sleep, Champions Never Cry, SATIN SATAN Gallery, Chicago, IL, March 29 – April 25, 2008
Slideluck Potshow XI, Chelsea Art Museum, New York, NY, March 29, 2008
2007 A Field Guide to the North American Family: The Exhibition, Gallery Bar, New York, NY, Dec. 6, 2007 – Jan. 2, 2008
Take Us Anywhere, But Take Us Now, Warehouse Gallery, Washington, DC, May 12–31, 2007
Instant Nostalgia, Bear Gallery, Montserrat College of Art, Beverly, MA, April 6 – 20, 2007
Student Annual Exhibition, School of the Museum of Fine Arts, Boston, MA, Feb. 27 – March 14, 2007
Hijacking the Future: Hugs and Kisses, School of the Museum of Fine Arts, Boston, MA, Feb. 22 – March 22, 2007
2006 Photography Now, Juror: Henry Horenstein, South Shore Art Center, Cohasset, MA, Sept. 8 – Oct. 22, 2006
Awards / Grants
2010 Nominee, The Baum Award, Baum Foundation, 2010
Nominee, The Infinity Award, International Center of Photography (ICP), 2010
2009 Silver Eye Center for Photography Fellowship, Honorable Mention, 2009
Artist Grant, Puffin Foundation, Ltd., 2009
Yousuf Karsh Prize in Photography, Museum of Fine Arts, Boston, 2009
Travel Grant, Museum of Fine Arts, Boston, 2009
2008 PDN Photography Annual 2008, Winner, 2008
Project Grant, Museum of Fine Arts, Boston, 2008
2007 Travel Grant, Museum of Fine Arts, Boston, 2007
2006 Bob East Photojournalism Scholarship, NPPF, Winner, 2006
NFFA Arts, Merit Award in Photography, 2006
Artist Website: http://www.shanelavalette.com/
Saturday, November 13, 2010
Artist Lecture: Sally Mann
One of the things that I found really interesting were her ideas about workflow and why it's necessary for her. She talked about always having to have at least two or three different projects going before ever beginning to show a finished series of work. The reason behind this for her was that she has a really hard time with self confidence and she said if she finishes one work and it's going well she has the tendency to feel like it's the last good thing she'll ever do. But, by keeping busy with a multitude of projects she can bounce from one to another and never really get to feeling down about a particular one. I thought it was amazing to hear such an amazingly successful artist confront this so candidly.
Three Words: Antiquated, Ambiguous, and Daring.
Questions:
1) What does working with an antiquated process do for your work? How is it more than a gimmick? She spoke to this directly by saying that she chooses each specific process for each project and that the process then relates to the work. Such as using ambrotypes involving these fragile glass plates on projects dealing with the vulnerabilities of human life.
2) Your images seem to impart a sense of "aloneness" or isolation. How do you deal with that as a theme within your work, and is it something you strive for? I think that maybe what I was seeing was more of a sense that nothing else in the world matters at that moment except what's in the photograph. There is a great amount of focus or singularity within her work.
I really enjoyed seeing all of the work from the proud flesh series of work after hearing the lecture. The her idea of the feminine gaze is intriguing, and the work is just amazing. As a man there is usually something slightly awkward about viewing male nudes, but I didn't encounter that with this work. I think it was the idea of knowing that a woman took these photographs and knowing that in a way I was seeing things from her perspective.
Three Words: Antiquated, Ambiguous, and Daring.
Questions:
1) What does working with an antiquated process do for your work? How is it more than a gimmick? She spoke to this directly by saying that she chooses each specific process for each project and that the process then relates to the work. Such as using ambrotypes involving these fragile glass plates on projects dealing with the vulnerabilities of human life.
2) Your images seem to impart a sense of "aloneness" or isolation. How do you deal with that as a theme within your work, and is it something you strive for? I think that maybe what I was seeing was more of a sense that nothing else in the world matters at that moment except what's in the photograph. There is a great amount of focus or singularity within her work.
I really enjoyed seeing all of the work from the proud flesh series of work after hearing the lecture. The her idea of the feminine gaze is intriguing, and the work is just amazing. As a man there is usually something slightly awkward about viewing male nudes, but I didn't encounter that with this work. I think it was the idea of knowing that a woman took these photographs and knowing that in a way I was seeing things from her perspective.
Wednesday, November 10, 2010
Idea: Exploration
As I have continued to look back into my past for inspiration for my project I have become drawn to the idea of exploration. However, I'm interested in finding not only the new but also finding the familiar in new places. I think I see this as the way for my project to move forward but still include the work that has already been done.
Quotes:
For three hundred years we have had our focus on the individual. We have distinguished him from the objective world as the Middle Ages did not think of doing. We have given him the world and the universe as a playground for exploration and discovery. ~ John Grierson
In wisdom gathered over time I have found that every experience is a form of exploration. ~Ansel Adams
We shall not cease from exploration, and the end of all our exploring will be to arrive where we started and know the place for the first time. ~T.S. Eliot
Text:
Fleming, Fergus. Off the Map: Tales of Endurance and Exploration. 1st ed. New York, NY: Grove Press, 2004. Print.
Tuesday, November 9, 2010
Grad School: Arizona State University: Herberger Institute for Design and the Arts
Interest:
The ASU program seems to be really good. It looks like they have a number of faculty that have experience in different types of photography. It sounds like the program really strives to be a community experience not just an academic one. I think the location would be a big plus for me.
Their facilities sound great, for example:
Photography Labs
Graduate Studios
Faculty of Interest: Mark Klett
Mark Klett photographs the intersection of cultures, landscapes and time. His background includes working as a geologist before turning to photography. Klett has received fellowships from the Guggenheim Foundation, the National Endowment for the Arts, the Buhl Foundation, and the Japan/US Friendship Commission. His work has been exhibited and published both nationally and internationally for over 30 years, and his work is held in over 80 museum collections worldwide. He is the author of thirteen books including Saguaros (Radius Press and DAP, 2007), After the Ruins (University of California Press 2006), Yosemite in Time (Trinity University Press, 2005), and Third Views, Second Sights (Museum of New Mexico Press 2004). Mark Klett is Regents’ Professor of Art at Arizona State University in Tempe, Arizona.
Grad Student of Interest: Angela Franks Wells
Solo Exhibitions:
2010
Instantaneous. 515arts, Phoenix, AZ.
Works from parts & labor. University of Wisconsin-Stevens Point, Stevens Point, WI (Fall)
2009
Happy Hour 9-5: new works from parts & labor. Tilt Gallery, Phoenix, AZ.
2008
Somewhere. 515arts, Phoenix, AZ.
2007
Brown Bagger, 515 arts, Phoenix, AZ.
Parts & Labor, Tilt gallery, Phoenix, AZ.
2006
Parts & Labor, MFA Thesis Exhibition, Harry Wood Gallery, Arizona State University.
The ASU program seems to be really good. It looks like they have a number of faculty that have experience in different types of photography. It sounds like the program really strives to be a community experience not just an academic one. I think the location would be a big plus for me.
Their facilities sound great, for example:
Photography Labs
The digital-photography facilities in the ASU Herberger Institute School of Art have been upgraded to include 27 Mac Pro computers, three 44" printers, 12 13" printers, a 17†printer, scanners for every format and a sophisticated network/server system. Six computers are designated for graduate-use only. Each computer is fully loaded with the most current software, including Final Cut Pro, the Adobe Creative Suite, Maya, Aperture and a variety of color management tools.
For analog processes, the program maintains several color darkrooms with a 24“ Cryonite color processor for analog color print materials, a black and white gang darkroom with film loading and processing rooms for the introductory level course, as well as an advanced black and white darkroom for upper division undergraduate students. The facility can accommodate graduate students using wet processes with a small personal darkroom. We also maintain a black and white mural darkroom with horizontal projection.
The facility, for teaching non-silver, alternative processes and late 19th-century printing processes, is comprised of a separate two-enlarger station darkroom, a chemical mixing and wet processing room with three large stainless steel sinks, an exposure room with one metal halide flip-top exposure unit and two fluorescent units with vacuum frames. There is a Vandercook Universal III proof press used for collotype printing and an etching press located in the printmaking area of the Art Building used for teaching copperplate photogravure.
Additional photography facilities include a small lighting studio as well as 16 mm motion picture film equipment shared collaboratively with other areas within the school.Graduate Studios
Photography graduate students in the ASU Herberger Institute School of Art have a dedicated shared work space measuring 2,500 square feet within easy walking distance to campus. Each student gets a key to the common space with a relatively open floor plan and has a designated small personal studio space within, redivided each term based on the number of students. The building has a telephone, wireless internet and is available for your use 24 hours a day. You can use this space for various reasons, including test installations and sequences, to make work and assemble finished pieces. The photographic seminar often convenes in the graduate studios to discuss artwork in progress.
Faculty of Interest: Mark Klett
Mark Klett photographs the intersection of cultures, landscapes and time. His background includes working as a geologist before turning to photography. Klett has received fellowships from the Guggenheim Foundation, the National Endowment for the Arts, the Buhl Foundation, and the Japan/US Friendship Commission. His work has been exhibited and published both nationally and internationally for over 30 years, and his work is held in over 80 museum collections worldwide. He is the author of thirteen books including Saguaros (Radius Press and DAP, 2007), After the Ruins (University of California Press 2006), Yosemite in Time (Trinity University Press, 2005), and Third Views, Second Sights (Museum of New Mexico Press 2004). Mark Klett is Regents’ Professor of Art at Arizona State University in Tempe, Arizona. Grad Student of Interest: Angela Franks Wells
Solo Exhibitions:
2010
Instantaneous. 515arts, Phoenix, AZ.
Works from parts & labor. University of Wisconsin-Stevens Point, Stevens Point, WI (Fall)
2009
Happy Hour 9-5: new works from parts & labor. Tilt Gallery, Phoenix, AZ.
2008
Somewhere. 515arts, Phoenix, AZ.
2007
Brown Bagger, 515 arts, Phoenix, AZ.
Parts & Labor, Tilt gallery, Phoenix, AZ.
2006
Parts & Labor, MFA Thesis Exhibition, Harry Wood Gallery, Arizona State University.
Monday, November 8, 2010
Artist Lecture: Simon Tarr
Interesting Quote: "This is probably my most successful work, but I just like it because it reminds me of Japan and how I want to be back there."
Three Words: Technological, Jarring, Experimental
I learned that he is very into technology and software programs and how they can be used to further his work. Such as using an Ipad as a remote controller to mix video on the fly in what he termed a VJ Performance piece. I thought this was really innovative and a good example of technology being used to build upon what the artist is doing as opposed to just being used for the novelty.
Questions:
1) In your creation of mixed media projects do you let the media influence you or do you know beforehand what the project requires? I think he definitely allows the media to influence his work. He described himself as a hunter gatherer of content as opposed to using a direct approach to create an already concrete project idea. And the performance piece Tia Mak is a great example of letting the content speak in different ways with each performance.
2) How immersive do you think an experimental film should be especially in regards to your piece FUD? He didn't touch on this but I thought that seeing this piece through large scale projection was amazing. It made it so much more than what it is on a tiny web-video.
I thought FUD was extremely powerful in person. I had the feeling it would be more interesting large scale but I had no idea. It became an almost hypnotic experience.
Three Words: Technological, Jarring, Experimental
I learned that he is very into technology and software programs and how they can be used to further his work. Such as using an Ipad as a remote controller to mix video on the fly in what he termed a VJ Performance piece. I thought this was really innovative and a good example of technology being used to build upon what the artist is doing as opposed to just being used for the novelty.
Questions:
1) In your creation of mixed media projects do you let the media influence you or do you know beforehand what the project requires? I think he definitely allows the media to influence his work. He described himself as a hunter gatherer of content as opposed to using a direct approach to create an already concrete project idea. And the performance piece Tia Mak is a great example of letting the content speak in different ways with each performance.
2) How immersive do you think an experimental film should be especially in regards to your piece FUD? He didn't touch on this but I thought that seeing this piece through large scale projection was amazing. It made it so much more than what it is on a tiny web-video.
I thought FUD was extremely powerful in person. I had the feeling it would be more interesting large scale but I had no idea. It became an almost hypnotic experience.
Saturday, November 6, 2010
Grad School: Columbia College Chicago
Interest:
I like Columbia College for a number of reasons, the first of which is that it is in Chicago. I have family that lives there and I've really enjoyed the time I've spent in the city. I think I would like living there and getting to know it better.
It sounds like they have tremendous facilities:
Including 6000 sq ft of extensive, fully staffed darkrooms:
Equipment highlights include
Graduate Student of Interest: Jason Reblando
Grants, Awards, and Fellowships
2010 Philadelphia Museum of Art Photography Portfolio Competition, juried by Tina Barney, Melissa Harris, and Peter Barberie
2010 2010 Photography Portfolio Competition Exhibition, Philadelphia Museum of Art
Faculty of Interest: Alison Carey
Solo & Two Person Exhibitions
2007 Michael Mazzeo Gallery, New York, NY. Organic Remains of a Former World.
2006 Roswell Museum of Contemporary Art, Roswell, NM. Ghost Craters.
2005 New Mexico Museum of Natural History & Science, Albuquerque, NM.
Organic Remains of a Formal World.
2004 New Mexico Museum of Natural History & Science, Albuquerque, NM.
From Science to Fiction: The Creation of a Planet.
2003 Mariani Gallery, University of Northern Colorado, Greeley, CO. Uncharted Territories.
Center for Contemporary Arts, Santa Fe, NM. Uncharted Territories, (An installation).
Harwood Art Center, Albuquerque, NM. Uncharted Territories.
Weitman Gallery of Photography, Washington University, St. Louis, MO. Uncharted Territories.
Selected Group Exhibitions
2009 Art! Fair, Michael Mazzeo Gallery, New York, NY
Hyper-Nature, SPACES Gallery, Cleaveland, OH
2008 Resurrections: A New Look at Old Photographic Processes, 23 Sandy Gallery, Portland, OR. catalog
Annual Benefit Auction, Museum of Contemporary Photography, Chicago, IL.
Photo Vision Award Auction, Photographic Center Northwest, Seattle, WA.
Topography of Nature, Arcade Gallery, New York, NY.
2007 The Art and Artifice of Science, (companion exhibition) 516 ARTS, Albuquerque, NM.
The Art and Artifice of Science, Museum of Fine Arts, Santa Fe, Santa Fe, NM. catalog.
Locations of Elsewhere, Peer Gallery, New York, NY.
Beyond a Gift of Time, Roswell Museum and Art Center, Roswell, NM. catalog
Artist-In-Residence Exhibition, Hoffman Gallery, Oregon College of Art & Craft, Portland, OR.
New Mexico Pics: The State of Photography II, Harwood Art Center, Albuquerque, NM.
2006 Technology of Meaning, Herron Gallery, Herron School of Art and Design, Indiana University, Indianapolis, IN.
Art and Science / Observation and Imagination, University of New Mexico Art Museum, Albuquerque, NM.
2005 Artists from the USA, Pingyao International Photography Festival, Pingyao, China.
Observed Fabrications, Bruce Gallery of Art, Edinboro University, Edinboro, PA. catalog
Conduit: Mapping the Connections Between Art and Science, Columbus State University, Columbus, GA.
Looking Back at the Present, University of New Mexico Art Museum, Albuquerque, NM.
2004 Oculus Photo Folio, ASA Gallery, University of New Mexico, Albuquerque, NM.
SPARK Gallery, Syracuse University, Syracuse, NY.
2003 Art Market, Magnifico!, Albuquerque, NM.
Oculus Photo Folio, Temple Gallery of Tyler School of Art, Philadelphia, PA.
Arrival Upon Departure, Albuquerque Sunport, Albuquerque, NM.
Illuminance 2003, Buddy Holly Center, Lubbock, TX.
Texas National 2003, Stephen F. Austin State University, Nacogdoches, TX. catalog
Third Photography and Digital Biennial, Wellington B. Gray Gallery, East Carolina University,
Greenville, NC. catalog
Art of the Southwest, Kotinsky Gallery, Pompton Lakes, NJ.
Fellowships,
I like Columbia College for a number of reasons, the first of which is that it is in Chicago. I have family that lives there and I've really enjoyed the time I've spent in the city. I think I would like living there and getting to know it better.
It sounds like they have tremendous facilities:
Including 6000 sq ft of extensive, fully staffed darkrooms:
- 4 Large communal darkrooms: 2 color, 2 black/white (111 enlargers total)Separate undergraduate and graduate darkrooms for black/white printing
- Separate color and black/white darkrooms for advanced students
- Advanced darkrooms all have enlargers with 3 lens turrets capable of printing 35mm, medium formats, and 4x5
- All advanced enlarger bays are capable of up to 20x24 inch printing
- 8 Film developing stations
- 3 4x5 Film developing rooms
- Archival Washers
- Separate teaching darkrooms for black/white and color printing. (36 enlargers total in classrooms)
- Lockers are available on a first come first serve basis
Equipment highlights include
- 13 high end Imacon film scanners
- 2 large format Epson 9800/9880 inkjet printers
- 10 Epson 4800 and 10 Epson 4880 printers
- 24 Epson 3800/3880 printers
- 2 Separate studios with 3000 sq ft shooting area each
- Professional lighting/location electronic & quartz strobe equipment
- View cameras and high-end digital cameras
- 5 Phase One Digital Backs and a Mini-Digital Lab
- Darkroom
- Digital inputs and outputs
- Food prep kitchen
Graduate Student of Interest: Jason Reblando
Grants, Awards, and Fellowships
2010 Philadelphia Museum of Art Photography Portfolio Competition, juried by Tina Barney, Melissa Harris, and Peter Barberie
- Nominee, New Insight, Art Chicago
- Honorable Mention, Silver Eye Center for Photography Fellowship, Pittsburgh, Pennsylvania, juried by Andy Adams
Diversifying Higher Education in Illinois Fellowship, Illinois Board of Higher Education
Billboard Art Project, Center for Civil and Human Rights
Travel Scholarship Award, Midwest Society for Photographic Education
John Mulvany Scholarship, Columbia College Chicago
Graduate Opportunity Award, Columbia College Chicago 2008 Albert P. Weisman Award, Columbia College Chicago - Social Justice Scholarship, Columbia College Chicago
Diversity Scholarship Award, Columbia College Chicago
Nominee, Peter Lisagor Award for Exemplary Journalism for Magazine Photography
Nominee, New York Photo Awards, Student Fine Art Series 2007 Dwight D. Follett Fellowship First-Year Full Tuition Award, Columbia College Chicago - Participating Spaces Finalist, FotoFest2008, Houston, Texas
Honorable Mention, Hey, Hot Shot website, Winter 07 edition 2006 Juror's Award, Eye Candy, AVA Gallery, Chattanooga, Tennessee
2005 Illinois Arts Council Fellowship Award in Photography, juried by Susan Carr, Terry Boddie, and Celeste Nelms
2010 2010 Photography Portfolio Competition Exhibition, Philadelphia Museum of Art
- Considering the City, Work • Detroit, University of Michigan School of Art and Design, Detroit, Michigan
Human: Nature, Singapore International Photography Festival
Daydream Nation, Philadelphia Photo Arts Center, juried by Jock Reynolds and Joshua Chuang
84th Annual International Competition, The Print Center, Philadelphia, Pennsylvania, juried by Ingrid Schaffner
New Deal Utopias, Waubonsee Community College, Sugar Grove, Illinois (solo)
Gapers Block Chicago Artists Month Kick-Off, Chicago, Illinois
33rd Harper College National Juried Art Exhibition, Palatine, Illinois, juried by Douglas Stapleton
Hard Times: Yesterday and Today, Harold Washington College, Chicago
PhotoSpiva 2010, Spiva Center for the Arts, Joplin, Missouri, juried by Deborah Klochko
New Romantics, East Bank Records, Chicago, Illinois, curated by Mike Reinders 2009 Lathrop Homes: Public Housing's Garden City, Rotunda Gallery, Roosevelt University (solo show) - TPS 18: The International Competition, Texas Photographic Society, juried by Cig Harvey
27th Annual Juried Exhibition, Houston Center for Photography, juried by Katherine Ware
National Public Housing Museum, Chicago, Illinois
Onward '09, Project Basho, Philadelphia, Pennsylvania, juried by Peter Barberie (finalist)
A Portrait of Public Housing, AVA Gallery, Chattanooga, Tennessee (solo show) 2008 Learn Promote Defend, Center for Civil and Human Rights, Atlanta, Georgia - Art at the X 2008, Xavier University, Cincinnati, Ohio, juried by Dr. Eric Lee
Emerging Photographer, The Darkroom, New Orleans, Louisiana
Albert P. Weisman Award Exhibition, Columbia College Chicago
ArtXposium 2008, West Chicago, Illinois, curated by Anni Holm
Juried Exhibition in honor of James Van Der Zee, Joyce Gordon Gallery, Oakland, California, juried by Steven Wirtz
First Juried Annuale, The Light Factory, Charlotte, North Carolina, juried by Julian Cox
RayKo Gallery, San Francisco, California (two-person show with Heidi Schumann) 2007 Bridge Art Fair, Orleans Street Gallery, Miami - ArtXposium 2007, West Chicago, Illinois, curated by Anni Holm
Identity: Contemporary Photographic Portraiture, New Orleans Photo Alliance, juried by Deborah Luster
Coalition of Photographic Arts, Milwaukee, Wisconsin, juried by Brian Ulrich
ChicagoLANDscape, Orleans Street Gallery, St. Charles, Illinois
The Photo Review International Competition Issue, juried by Toby Jurovics
Boys and Girls, City Gallery of Photography at the Historic Water Tower, Chicago, Illinois
Interactions, Center for Fine Art Photography, Fort Collins, Colorado, juried by Alison Nordström
Photocentric 2007, Minnesota Center for Photography, juried by Lisa Hostetler
New Works Gallery Online, Silver Eye Center for Photography website 2006 Youth Boxers of the Chicago Park District, Union League Club of Chicago, Chicago, Illinois (solo show) - Eye Candy, AVA Gallery, Chattanooga, Tennessee, juried by Ron Platt
Foto-Work 2006, Orleans Street Gallery, St. Charles, Illinois, juried by Whitney Bradshaw
The Photo Review International Competition Issue, juried by Phillip Brookman
18th Evanston + Vicinity Biennial 2006, Evanston, Illinois, juried by Michael Workman and Annette Ferrara
New Trends in Chicago Photography for Version Kunsthalle, curated by Brian Ulrich and Greg Stimac
Chicago Community Trust Gallery, Chicago, Illinois 2005 Daily Meaning: Life Inside America’s Service Industries, photo and audio exhibit, The Peace Museum in Garfield Park, Chicago, Illinois
2004 Voices in Time: Lives in Limbo (in collaboration with Beyondmedia Education and Chicago Legal Advocacy for Incarcerated Mothers), Las Manos Gallery, Chicago, Illinois
Faculty of Interest: Alison Carey
Solo & Two Person Exhibitions
2007 Michael Mazzeo Gallery, New York, NY. Organic Remains of a Former World.
2006 Roswell Museum of Contemporary Art, Roswell, NM. Ghost Craters.
2005 New Mexico Museum of Natural History & Science, Albuquerque, NM.
Organic Remains of a Formal World.
2004 New Mexico Museum of Natural History & Science, Albuquerque, NM.
From Science to Fiction: The Creation of a Planet.
2003 Mariani Gallery, University of Northern Colorado, Greeley, CO. Uncharted Territories.
Center for Contemporary Arts, Santa Fe, NM. Uncharted Territories, (An installation).
Harwood Art Center, Albuquerque, NM. Uncharted Territories.
Weitman Gallery of Photography, Washington University, St. Louis, MO. Uncharted Territories.
Selected Group Exhibitions
2009 Art! Fair, Michael Mazzeo Gallery, New York, NY
Hyper-Nature, SPACES Gallery, Cleaveland, OH
2008 Resurrections: A New Look at Old Photographic Processes, 23 Sandy Gallery, Portland, OR. catalog
Annual Benefit Auction, Museum of Contemporary Photography, Chicago, IL.
Photo Vision Award Auction, Photographic Center Northwest, Seattle, WA.
Topography of Nature, Arcade Gallery, New York, NY.
2007 The Art and Artifice of Science, (companion exhibition) 516 ARTS, Albuquerque, NM.
The Art and Artifice of Science, Museum of Fine Arts, Santa Fe, Santa Fe, NM. catalog.
Locations of Elsewhere, Peer Gallery, New York, NY.
Beyond a Gift of Time, Roswell Museum and Art Center, Roswell, NM. catalog
Artist-In-Residence Exhibition, Hoffman Gallery, Oregon College of Art & Craft, Portland, OR.
New Mexico Pics: The State of Photography II, Harwood Art Center, Albuquerque, NM.
2006 Technology of Meaning, Herron Gallery, Herron School of Art and Design, Indiana University, Indianapolis, IN.
Art and Science / Observation and Imagination, University of New Mexico Art Museum, Albuquerque, NM.
2005 Artists from the USA, Pingyao International Photography Festival, Pingyao, China.
Observed Fabrications, Bruce Gallery of Art, Edinboro University, Edinboro, PA. catalog
Conduit: Mapping the Connections Between Art and Science, Columbus State University, Columbus, GA.
Looking Back at the Present, University of New Mexico Art Museum, Albuquerque, NM.
2004 Oculus Photo Folio, ASA Gallery, University of New Mexico, Albuquerque, NM.
SPARK Gallery, Syracuse University, Syracuse, NY.
2003 Art Market, Magnifico!, Albuquerque, NM.
Oculus Photo Folio, Temple Gallery of Tyler School of Art, Philadelphia, PA.
Arrival Upon Departure, Albuquerque Sunport, Albuquerque, NM.
Illuminance 2003, Buddy Holly Center, Lubbock, TX.
Texas National 2003, Stephen F. Austin State University, Nacogdoches, TX. catalog
Third Photography and Digital Biennial, Wellington B. Gray Gallery, East Carolina University,
Greenville, NC. catalog
Art of the Southwest, Kotinsky Gallery, Pompton Lakes, NJ.
Fellowships,
Tuesday, November 2, 2010
Artist Lecture Questions & Response: Zoe Beloff
I thought one of the most interesting things that she said during the lecture was when she likened the characters from 3D rear projections of her installation to a traveling troupe of actors and she talked about visiting them in london. It seems silly and it was said as a joke but it really made me want to see the installation to see how life like they are.
Three Words: Unconscious, Tricky, Psychological.
One of the most interesting revelations of the lecture was that she and Albert Grass are one and the same. She did an amazing amount of backgrounding and research to create such an in depth and many faceted installation. I had my suspicions about the authenticity before she outed herself but she did such a good job and really sold it with her acting during the presentation.
Questions:
1) How involved were you in the set design of the Somnambulist and what led you to use such minimalist set designs? ---
2) How does the history of the human mind influence your work?
-She is extremely interested in the idea of the unconscious mind and its documentation or recreation.
I think I am most interested in "The Somnambulist" project, as I said her personification of the digital characters on the stage was very intriguing.
Three Words: Unconscious, Tricky, Psychological.
One of the most interesting revelations of the lecture was that she and Albert Grass are one and the same. She did an amazing amount of backgrounding and research to create such an in depth and many faceted installation. I had my suspicions about the authenticity before she outed herself but she did such a good job and really sold it with her acting during the presentation.
Questions:
1) How involved were you in the set design of the Somnambulist and what led you to use such minimalist set designs? ---
2) How does the history of the human mind influence your work?
-She is extremely interested in the idea of the unconscious mind and its documentation or recreation.
I think I am most interested in "The Somnambulist" project, as I said her personification of the digital characters on the stage was very intriguing.
Sunday, October 31, 2010
Artist: Anna Shteynshleyger
I'm really drawn to the work of Anna Shteynshleyger. In a way I feel like her Siberia series captures what I am looking for in my own work. She captures a scene in ways that it imbue it with a kind of bleak feeling, a sense that things could and should be better. In her land scapes there are a number of things or objects that have been left by humans and because of that I feel like there was someone there to remember it.
Example works:
Bio:
http://www.nytimes.com/2010/01/22/arts/design/22cncanna.html
Artist Website:
http://www.shteynshleyger.com/index.php
Gallery:
http://www.renaissancesociety.org/site/Exhibitions/Intro.Anna-Shteynshleyger.609.html
Example works:
Bio:
EDUCATION:
2001 MFA Yale University School of Art, New Haven, CT
1999 BFA Maryland Institute College of Art, Baltimore, MD
SOLO EXHIBITIONS:
2010 Renaissance Society at the University of Chicago, Chicago, IL (forthcoming January-February)
2005 Moti Hasson Gallery, New York, NY (catalogue available with essay by Tim Davis)
2004 Museum of Contemporary Art (12x12), Chicago, IL (curated by Dominic Molon)
2001 MFA Thesis Exhibition in Photography, Yale University School of Art, New Haven, CT
1999 BFA Thesis Exhibition,The Whole Gallery, Baltimore, MD
SELECTED GROUP EXHIBITIONS AND SCREENINGS:
2007 Loaded Landscapes, Museum of Contemporary Photography, Chicago, IL
2006 The Lie of the Land, Murray Guy Gallery, New York, NY
2006 Adventura: Photography of Unexpected Places, Moti Hasson Gallery, New York, NY
2006 New Trends in Chicago Photography, Version Fest, Chicago, IL
2005 Into the Woods, Thomas McCormick Gallery, Chicago, IL
2004 Frozen in Ligh, Zolla/Lieberman Gallery, Chicago, IL
Art Basel Miami Beach, Jacob Karpio Gallery, Miami, FL
Museum of Contemporary Photography: work on loan as part of the Midwest
Photographers Project, Chicago, IL
SELECTED GRANTS/ AWARDS:
2009 John Simon Guggenheim Memorial Foundation Fellowship
2008 Illinois Art Council Finalist Award
2006 Illinois Arts Council Finalist Award
Quote:
"There is a challenge inherent in her pictures, and an invitation: Here is what I don’t have, she seems to be saying. Here is what I imagine you do have, which I will possess, however briefly, from the safe distance of an observer behind a lens. Here I am, forever on the outside, pressing my face against the glass of your life — as you are doubtlessly doing to mine." ~JESSICA REAVES
Review/ Interview:http://www.nytimes.com/2010/01/22/arts/design/22cncanna.html
Artist Website:
http://www.shteynshleyger.com/index.php
Gallery:
http://www.renaissancesociety.org/site/Exhibitions/Intro.Anna-Shteynshleyger.609.html
Wednesday, October 27, 2010
Idea: Past
Quotes:
One's past is what one is. It is the only way by which people should be judged.
~Oscar Wilde
It is sadder to find the past again and find it inadequate to the present than it is to have it elude you and remain forever a harmonious conception of memory.
~F. Scott Fitzgerald
annotated bibliography:
Memory Distortion: How Minds, Brains, and Societies Reconstruct the Past. 3rd ed. Cambridge,Ma: Harvard University Press, 1995. Print.
The past is paramount to my ideas and my project. I can really relate to the Fitzgerald quote because in looking backward I have almost come to wish that I hadn't. In the beginning I thought I was looking for things from my past because they were something better or purer than the present. But now looking back has become a negative thing to me. I see the past and I can't recreate it by visiting these places where I have such strong memories. It only makes me struggle with not wanting to think about it because I can't get the high points back and I can't help but dwell on the lows. It's possible that focusing on these aspects of memory and the past might be the direction that my project needs to go in.
One's past is what one is. It is the only way by which people should be judged.
~Oscar Wilde
It is sadder to find the past again and find it inadequate to the present than it is to have it elude you and remain forever a harmonious conception of memory.
~F. Scott Fitzgerald
annotated bibliography:
Memory Distortion: How Minds, Brains, and Societies Reconstruct the Past. 3rd ed. Cambridge,Ma: Harvard University Press, 1995. Print.
The past is paramount to my ideas and my project. I can really relate to the Fitzgerald quote because in looking backward I have almost come to wish that I hadn't. In the beginning I thought I was looking for things from my past because they were something better or purer than the present. But now looking back has become a negative thing to me. I see the past and I can't recreate it by visiting these places where I have such strong memories. It only makes me struggle with not wanting to think about it because I can't get the high points back and I can't help but dwell on the lows. It's possible that focusing on these aspects of memory and the past might be the direction that my project needs to go in.
Sunday, October 10, 2010
Artist: Daniel Gebhart de Keokkeok
I'm interested in Daniel Gebhart de Keokkeok's "The Days Off" series because I think his project has a similar feel to my project. He's not dealing specifically with memory but rather he's covering diverse subject matter, but doing it in a way that the project still holds together. This is something that I am working on myself because I have lots of different types of imagery associated with this project and I'm struggling to reign it all in and sequence it in a way that it will be cohesive. I also like that he is traveling and combining images from different areas into the same series, I'm planning a trip to North Carolina this coming weekend and I'm interested to see how the images will blend with the shots I have from the Richmond area.
Artist Bio:
2006 Photographer in Vienna / Austria
2007 moved studio to MQ (Vienna)
2008 Internship at Magnum Photos (NYC)
2009 Jury member at Tirolissimo
2009 married to Lara de Koekkoek
2009 Phootcamp (San Francisco / CA)
2009 reportage for Spot On Wien (Tokyo)
2009 represented by Kanyl (Sweden)
2010 moved studio to Studio65 (Vienna)
2010 represented by Daniel O' Gorman (Ireland)
2010 Jury member at Tirolissimo
"He has taken pictures of everything from pillowfights in New York to men sleeping in their cars in tokyo."
"the hunter and collector in me told me to collect images of nice moments. It made my life more intense and I started to see small and beautiful things that I didn’t recognized before."
Artist Interview:
http://www.radarzine.com/foto/2010/05/07/veckans-fotograf-vecka-18-%E2%80%93-daniel-gebhart-de-koekkoek/
http://www.jenriks.de/interview-with-daniel-k-gebhart/
Artist Representation:
http://www.danielogorman.com/main.php
Artist Website:
http://danielgebhart.com/
Artist Bio:
2006 Photographer in Vienna / Austria
2007 moved studio to MQ (Vienna)
2008 Internship at Magnum Photos (NYC)
2009 Jury member at Tirolissimo
2009 married to Lara de Koekkoek
2009 Phootcamp (San Francisco / CA)
2009 reportage for Spot On Wien (Tokyo)
2009 represented by Kanyl (Sweden)
2010 moved studio to Studio65 (Vienna)
2010 represented by Daniel O' Gorman (Ireland)
2010 Jury member at Tirolissimo
"He has taken pictures of everything from pillowfights in New York to men sleeping in their cars in tokyo."
"the hunter and collector in me told me to collect images of nice moments. It made my life more intense and I started to see small and beautiful things that I didn’t recognized before."
Artist Interview:
http://www.radarzine.com/foto/2010/05/07/veckans-fotograf-vecka-18-%E2%80%93-daniel-gebhart-de-koekkoek/
http://www.jenriks.de/interview-with-daniel-k-gebhart/
Artist Representation:
http://www.danielogorman.com/main.php
Artist Website:
http://danielgebhart.com/
Thursday, October 7, 2010
Lecture: Julika Rudelius
Interesting Quote:
"Well, I think you have to be a pretty good psychopath to be a successful visual artist."
Three Words:
Sociological, Tricky, Meticulous.
I thought it was really great that she prompts the actors through ear pieces as a way of directing. It's a really smart but tricky way to get them saying and doing exactly what you want without it being obvious. I liked that it allows her to run the camera in long takes and capture everything without stopping.
I thought that "Rites of Passage" the piece about politicians and the "Charismatic Leader" was extremely powerful. The rotating camera work as well as the predatory circling of the older men around the younger gave such an incredible sense of tension. Even with only seeing part of the work it was intense to feel that building tension.
Overall, I enjoyed the lecture. Rudelius work with social commentary is very strong and I thought it was a great mix of being entertaining and thought provoking. I wish we had been able to see more of her work or see some of it in it's entirety. I understand wanting to be so meticulous in your work's presentation, but at a certain point it needs to become more about letting others see it and less about your control of it. It was extremely frustrating from a presentation stand point to just be getting into a piece only to have her stop it and say she couldn't show it like that. I think VCU is partially to blame for the choppy and unpleasant qualities of her presentation. I mean I don't think I can remember one lecture where there hasn't been some sort of technical problem. In the future it might be a good idea to have someone designated to help the artist setup and preview their presentation so that fixes don't have to come on the fly at the time of the presentation. Not only do these technical problems ruin the artists presentation but they make the school look bad. It seems to me that if there are always problems with presentations then it might become more dificult to continue to get such high profile and highly respected artist to come and give lectures.
"Well, I think you have to be a pretty good psychopath to be a successful visual artist."
Three Words:
Sociological, Tricky, Meticulous.
I thought it was really great that she prompts the actors through ear pieces as a way of directing. It's a really smart but tricky way to get them saying and doing exactly what you want without it being obvious. I liked that it allows her to run the camera in long takes and capture everything without stopping.
I thought that "Rites of Passage" the piece about politicians and the "Charismatic Leader" was extremely powerful. The rotating camera work as well as the predatory circling of the older men around the younger gave such an incredible sense of tension. Even with only seeing part of the work it was intense to feel that building tension.
Overall, I enjoyed the lecture. Rudelius work with social commentary is very strong and I thought it was a great mix of being entertaining and thought provoking. I wish we had been able to see more of her work or see some of it in it's entirety. I understand wanting to be so meticulous in your work's presentation, but at a certain point it needs to become more about letting others see it and less about your control of it. It was extremely frustrating from a presentation stand point to just be getting into a piece only to have her stop it and say she couldn't show it like that. I think VCU is partially to blame for the choppy and unpleasant qualities of her presentation. I mean I don't think I can remember one lecture where there hasn't been some sort of technical problem. In the future it might be a good idea to have someone designated to help the artist setup and preview their presentation so that fixes don't have to come on the fly at the time of the presentation. Not only do these technical problems ruin the artists presentation but they make the school look bad. It seems to me that if there are always problems with presentations then it might become more dificult to continue to get such high profile and highly respected artist to come and give lectures.
Idea: Laughter
Video:
Quotes:
The most wasted of all days is one without laughter. ~e.e. cummings
Honest good humor is the oil and wine of a merry meeting, and there is no jovial companionship equal to that where the jokes are rather small and laughter abundant. ~ Washington Irving
Nothing shows a man's character more than what he laughs at.
~ Johann Wolfgang von Goethe
Man is distinguished from all other creatures by the faculty of laughter. ~Joseph Addison
Text:
Provine, Robert R. Laughter: A Scientific Investigation. New York, NY: Penguin Books, 2000. Print.
Laughter is a truly amazing thing. It's something that is utterly human and in many ways is universal, but at the same time every individuals laugh is different. What we laugh at why we laugh are different. But, it is a common thread. I am interested in trying to find things like this to tie my life together with the experience of the viewer. I have so many unique memories that involve laughter but I feel like if I can capture something of those memories people could relate to it.
Quotes:
The most wasted of all days is one without laughter. ~e.e. cummings
Honest good humor is the oil and wine of a merry meeting, and there is no jovial companionship equal to that where the jokes are rather small and laughter abundant. ~ Washington Irving
Nothing shows a man's character more than what he laughs at.
~ Johann Wolfgang von Goethe
Man is distinguished from all other creatures by the faculty of laughter. ~Joseph Addison
Text:
Provine, Robert R. Laughter: A Scientific Investigation. New York, NY: Penguin Books, 2000. Print.
Laughter is a truly amazing thing. It's something that is utterly human and in many ways is universal, but at the same time every individuals laugh is different. What we laugh at why we laugh are different. But, it is a common thread. I am interested in trying to find things like this to tie my life together with the experience of the viewer. I have so many unique memories that involve laughter but I feel like if I can capture something of those memories people could relate to it.
Monday, October 4, 2010
Artist: Blake D. Ogden
Okay, so I somehow managed to save this post as a draft instead of actually posting it Monday, but here it is.
I found Blake D. Ogden's work through Review Santa Fe with his project In My Grandmother's House. I think this project is really fascinating and it's something that I wish I could do. This ties in directly to my ideas of exploring places out of memory or the past. I think that part of my interest in going in search of the past or places of memory is driven by the fact that on both sides of my family, the houses I grew up in as "grandma's house" have sold and I'm no longer welcome there. It's very strange to be utterly familiar with a place have so many memories there and yet you can't actually go there. Something else that I think is really great about this work is how it doesn't seem limited to one type of shot. The content and compositions are all over the place, but they still function as a whole. This is something that I'm struggling to deal with in my work because it is definitely all over the place but I want it to be cohesive.
Quotes:
"Blake Ogden’s upcoming photography exhibition... is both personal and public, capturing his family’s history while aiming to explore the overall passing of time(Erekson)."
"the interiors are suffused with natural and artificial light that plays upon smooth delicate surfaces while creating a wealth of shadows, reflections, and translucencies. Here, everything is
Artist Bio:
Blake D. Ogden received a BA from Bennington College with a major in Painting and Printmaking in 1995. While enrolled in the graduate program at the University of Wisconsin, Madison, he began serious work in photography. Photographs from his series In My Grandmother's House have been displayed in numerous solo and group exhibitions. In 2005 his work was featured in the group show Pretty Sweet: The Sentimental Image in Contemporary Art at the DeCordova Museum and Sculpture Park of Lincoln, Massachusetts. In 2008 his image My Mother Was An Only Child was on view at the Biennial at the Center for Maine Contemporary Art. His work has been published in Stephen Perloff's Photo Review and Plates to Pixels magazine.
Images:
Interview/Review:
http://www.artreview.com/profile/BlakeDOgden
http://www.bangordailynews.com/detail/142059.html
Representation:
http://gallerykayafas.com/
Artist Website:
http://www.ogdenpictures.com/index.html
Citations:
Stoneham Theater exhibit explores universality of family relationshipsBy Kristin Erekson/CorrespondentFri Mar 27, 2009, 09:00 AM EDT
Capasso, Nick. "Pretty Sweet: the sentimental image in contemporary art." (2005): Web. 4 Oct 2010.
I found Blake D. Ogden's work through Review Santa Fe with his project In My Grandmother's House. I think this project is really fascinating and it's something that I wish I could do. This ties in directly to my ideas of exploring places out of memory or the past. I think that part of my interest in going in search of the past or places of memory is driven by the fact that on both sides of my family, the houses I grew up in as "grandma's house" have sold and I'm no longer welcome there. It's very strange to be utterly familiar with a place have so many memories there and yet you can't actually go there. Something else that I think is really great about this work is how it doesn't seem limited to one type of shot. The content and compositions are all over the place, but they still function as a whole. This is something that I'm struggling to deal with in my work because it is definitely all over the place but I want it to be cohesive.
Quotes:
"Blake Ogden’s upcoming photography exhibition... is both personal and public, capturing his family’s history while aiming to explore the overall passing of time(Erekson)."
"the interiors are suffused with natural and artificial light that plays upon smooth delicate surfaces while creating a wealth of shadows, reflections, and translucencies. Here, everything is
just so,as the artist seeks to fight time by capturing beauty before it disappears(Capasso). "
Artist Bio:
Blake D. Ogden received a BA from Bennington College with a major in Painting and Printmaking in 1995. While enrolled in the graduate program at the University of Wisconsin, Madison, he began serious work in photography. Photographs from his series In My Grandmother's House have been displayed in numerous solo and group exhibitions. In 2005 his work was featured in the group show Pretty Sweet: The Sentimental Image in Contemporary Art at the DeCordova Museum and Sculpture Park of Lincoln, Massachusetts. In 2008 his image My Mother Was An Only Child was on view at the Biennial at the Center for Maine Contemporary Art. His work has been published in Stephen Perloff's Photo Review and Plates to Pixels magazine.
Images:
Interview/Review:
http://www.artreview.com/profile/BlakeDOgden
http://www.bangordailynews.com/detail/142059.html
Representation:
http://gallerykayafas.com/
Artist Website:
http://www.ogdenpictures.com/index.html
Citations:
Stoneham Theater exhibit explores universality of family relationshipsBy Kristin Erekson/CorrespondentFri Mar 27, 2009, 09:00 AM EDT
Capasso, Nick. "Pretty Sweet: the sentimental image in contemporary art." (2005): Web. 4 Oct 2010.
Thursday, September 30, 2010
Idea: Relaxation
I think it's interesting how much I have been thinking about relaxation lately. I feel like it's something that I don't get to do anymore. Which is probably why a lot of the memories I have been thinking about for this project deal directly with relaxing actions and a more relaxed time in my life. I'm sure that I still had stress back then but that seems to have faded out of the memories.
"Nothing is permanent in this wicked world - not even our troubles."~Charlie Chaplin.
"Tension is who you think you should be.
Relaxation is who you are." ~Chinese Proverb
"It is requisite for the relaxation of the mind that we make use, from time to time, of playful deeds and jokes." ~Thomas Aquinas
Text:
Simply Relax: The Beginner's Guide to Relaxation by Sarah Brewer
MLA Citation:
Brewer, Sarah. Simply Relax: The Beginner's Guide to Relaxation. London: Duncan Baird Publishing, 2000. Print.
Sunday, September 26, 2010
Artist: Natalie Young
I'm interested in Natalie Young's series The Farm because I feel like it relates very closely to ideas that I want to explore in my work. Her work has a really strong emphasis on family, place, memory and storytelling which are concepts that I'm trying to figure out how to deal with in my project. I like her style of working, the idea of returning to a specific place that you have some sort of relationship with and photographing it really appeals to me. I am hoping to be able to travel to several places that I have strong memories or relationships with in the coming month.
Bio:
Natalie is an award-winning photographer based in Los Angeles, who splits her time between fine art and commercial work. This past year, she was named one of the Top 50 Photographers in PhotoLucida’s Critical Mass competition, as well as being nominated for the prestigious Santa Fe Prize for Photography. Natalie’s fine art work has been featured in such publications as SHOTS, Artist’s Showcase, and Migrate, and she was recently interviewed by Rangefinder Magazine and the Thoughts on Photography podcast series. Her work is in the collection of Museum of Fine Arts Houston, and has been exhibited widely.
Quotes:
"Young's photographs often explore the connection of past to the present, and the relationship of people to their environment (Burnstine)."
"Her...images show the beauty of her family’s farm with a sense of place, a history, and all the stories to tell. An American journey we all can be a part of(The Flat File)."
Interview/Article:
http://www.rangefindermag.com/storage/articles/RF0110_Young_Mues.pdf
Representation:
Fine Art-http://www.kevinlongino.com/
Commercial-http://www.wonderfulmachine.com/city/los-angeles/photographer
Artists Website:
http://www.natalieyoung.com/
Bibliography:
Burnstine, Susan. "Rare Visionary." Black and White Magazine Dec. 2009: 31. Web. 27 Sep 2010..
"Lishui Photo-Natalie Young." Wall Space Gallery The Flat File. Wall Space Gallery, 26 Oct 2009. Web. 27 Sep 2010.
Bio:
Natalie is an award-winning photographer based in Los Angeles, who splits her time between fine art and commercial work. This past year, she was named one of the Top 50 Photographers in PhotoLucida’s Critical Mass competition, as well as being nominated for the prestigious Santa Fe Prize for Photography. Natalie’s fine art work has been featured in such publications as SHOTS, Artist’s Showcase, and Migrate, and she was recently interviewed by Rangefinder Magazine and the Thoughts on Photography podcast series. Her work is in the collection of Museum of Fine Arts Houston, and has been exhibited widely.
Quotes:
"Young's photographs often explore the connection of past to the present, and the relationship of people to their environment (Burnstine)."
"Her...images show the beauty of her family’s farm with a sense of place, a history, and all the stories to tell. An American journey we all can be a part of(The Flat File)."
Interview/Article:
http://www.rangefindermag.com/storage/articles/RF0110_Young_Mues.pdf
Representation:
Fine Art-http://www.kevinlongino.com/
Commercial-http://www.wonderfulmachine.com/city/los-angeles/photographer
Artists Website:
http://www.natalieyoung.com/
Bibliography:
Burnstine, Susan. "Rare Visionary." Black and White Magazine Dec. 2009: 31. Web. 27 Sep 2010.
"Lishui Photo-Natalie Young." Wall Space Gallery The Flat File. Wall Space Gallery, 26 Oct 2009. Web. 27 Sep 2010.
Monday, September 20, 2010
Artist: Jan von Holleben
I'm choosing Jan von Holleben as my artist this week because I think he is super creative in his work and that is something that I need. After really getting into work for my project I'm feeling kind of lack luster about my ideas and feel in need of inspiration as to how to take this project to the next level.
Born in 1977 in Cologne and brought up in the southern German countryside, Jan von Holleben lived most of his youth in an alternative commune and identifies a strong connection between the development of his photographic work and the influence of his parents, a cinematographer and child therapist. At the age of 13, he followed his father’s photographic career by picking up a camera and experimenting with all sorts of „magical tricks“, developing his photographic imagination and skills with friends and family and later honing his technique in commercial settings. After pursuing studies in teaching children with disabilities at the Pädagogische Hochschule in Freiburg, he moved to London, earned a degree in the Theory and History of Photography at Surrey Institute of Art and Design, and became submerged within the London photographic scene, where he worked as picture editor, art director and photographic director. He quickly set up two photographic collectives, Young Photographers United and photodebut, followed more recently by the Photographer’s Office.
awards
| 2009 | Aesthetica Award – Runner up / London Lead Award – Auszeichnung / Hamburg |
| 2008 | Backlight Artist’s Residency, Finland Bronze – Idn + graniph Universe Award / Tokyo Nomination – Joop Swart Master Class, Amsterdam |
| 2007 | Florence Biennale Award for Photography / Florence Photographery Masters Cup/ London-Beverly Hills PHE07 Best Photography Books of 2007 for ‘Dreams of Flying’/ Madrid Gold – PX3 Photography Award / Paris Gold – Best CP Award / Munich Finalist – Cedefop Award / Thessaloniki Gold – Art for Aid Award / Amsterdam |
solo exhibitions
| 2010 | Nur gespielt, Städtische Galerie Friedrichsbau, Bühl Best of 000-010, Gesto, Porto |
| 2009 | Mutatis Mutandis, Farmani Gallery, New York Liebesorte, c/o Berlin Microhumanoids, Galerie Baer, Dresden |
| 2008 | It’ll happen here, Marcia Wood Gallery, Atlanta Dreams of Flying, Graniph, Sydney Dreams of Flying, BZ Galerie, Freiburg Kleines Glück Grosses Spiel, UNO Gallery, Stuttgart The Snowbed, Radialsytem, Berlin* |
Quotes:
Nothing stops Jan Von Holleben from creating the shot he wants, not budget, not locations, and not gravity. We love his youthful spirit, and that he uses his imagination to create fantastic frozen images of flight from some supplies from the garage, a few neighborhood children, and the end of the street, or the backyard(Creative Tempest).
His focus on the visual representation of childhood, ‘Child-History’ and concepts of ‘Playing’, come from his teacher training coursework: he combines these theories with his personal experience and childhood memories.
Interview/Article:
http://180mag.ca/0702/holleben/holleben.html
Gallery Representation:
http://farmanigallery.com/en/Exhibit/JanvonHolleben/JanvonHolleben.php
Artist Website:
http://www.janvonholleben.com/
Wednesday, September 15, 2010
Idea: Nostalgia
Childhood Family Photo.Definition:
Nostalgia-
1: the state of being homesick: homesickness.
2: a wistful or excessively sentimental yearning for return to or of some past period or irrecoverable condition
Nostalgia is a seductive liar. ~George Wildman Ball
True nostalgia is an ephemeral composition of disjointed memories. ~Florence King
Text:
Yesterday's Self: Nostalgia and the Construction of Personal Identity. by Andreea Deciu Ritivoi.
Ritivoi, Andreea Deciu. Yesterday's Self: Nostalgia and the Construction of Personal Identity. Lanham, Md: Rowman & Littlefield Publishers, Inc., 2002. Print.
Nostalgia is at once everything that my project is about and yet what I hope for it to transcend. My project is all about wanting to return to places and things that are past, specifically my past at least to begin with. However my ideas about memory and its inability to be truthful are an exploration of reality which is basically the antithesis of nostalgia.
Wafaa Bilal Lecture Question/Response.
Questions:
1)With your last project "...and Counting" you chose to do a real life performance piece as opposed to a digital piece. Was this more fulfilling and if so why?
2)Most of your video installations revolve around viewer interaction with the piece why is this so important to you?
Response:
Three words for the artist:
Political, Performance, Persecution.
I really enjoyed Wafaa Bilal's lecture. He is the first artist I have heard speak that has had such a strong political aspect to their work. It was interesting to see an entire body of work that was so extremely focused. I think that one of the best things that he said during his lecture was that he strives as an artist to be an "initiator as opposed to an imposer." I really took that to heart as a great approach, especially because his subject matter has the potential to be so polarizing.
Interesting fact about the artist:
Despite his artwork being so serious he has a great sense of humor, I.E. the joke about The Night of Bush Capturing being an Al Qaeda porno.
Original Questions:
1) Based on his lecture I don't know that one is more fulfilling than the other but he did say that he doesn't predetermine the medium he is working in. Rather he tailors the medium or delivery method to each specific project.
2) During the lecture he did speak directly to this point by saying that "the use of virtual or digital mediums allows him access or the ability to reach people in their Comfort Zone and bring the issue there. As well as being a way to just engage with people outside of a gallery space."
Most Engaging Piece:
I think that "Domestic Tension" was probably the piece that I was most interested in. It seems like such a simple thing and like it wouldn't be that bad, but after seeing the video and hearing him talk about the experience it was extremely powerful. The fact that he developed his own version of PTSD after only thirty days in that enviroment is extremely compelling. It made me think about what it must be like for the people and families in any war situation that have to live through it without even a glimmer of hope as to when it will end.
One thing I can't wait to find out is what his next project will be, he seemed fairly certain that it was going to cause a ruckus whatever it is.
1)With your last project "...and Counting" you chose to do a real life performance piece as opposed to a digital piece. Was this more fulfilling and if so why?
2)Most of your video installations revolve around viewer interaction with the piece why is this so important to you?
Response:
Three words for the artist:
Political, Performance, Persecution.
I really enjoyed Wafaa Bilal's lecture. He is the first artist I have heard speak that has had such a strong political aspect to their work. It was interesting to see an entire body of work that was so extremely focused. I think that one of the best things that he said during his lecture was that he strives as an artist to be an "initiator as opposed to an imposer." I really took that to heart as a great approach, especially because his subject matter has the potential to be so polarizing.
Interesting fact about the artist:
Despite his artwork being so serious he has a great sense of humor, I.E. the joke about The Night of Bush Capturing being an Al Qaeda porno.
Original Questions:
1) Based on his lecture I don't know that one is more fulfilling than the other but he did say that he doesn't predetermine the medium he is working in. Rather he tailors the medium or delivery method to each specific project.
2) During the lecture he did speak directly to this point by saying that "the use of virtual or digital mediums allows him access or the ability to reach people in their Comfort Zone and bring the issue there. As well as being a way to just engage with people outside of a gallery space."
Most Engaging Piece:
I think that "Domestic Tension" was probably the piece that I was most interested in. It seems like such a simple thing and like it wouldn't be that bad, but after seeing the video and hearing him talk about the experience it was extremely powerful. The fact that he developed his own version of PTSD after only thirty days in that enviroment is extremely compelling. It made me think about what it must be like for the people and families in any war situation that have to live through it without even a glimmer of hope as to when it will end.
One thing I can't wait to find out is what his next project will be, he seemed fairly certain that it was going to cause a ruckus whatever it is.
Sunday, September 12, 2010
Artist: Keith Carter
I became interested in Keith Carter's work for his personal aesthetic. All of his imagery has a very distinct style to it. It starts with the shallow depth of field but I feel like it's also in his strong compositions. I would really like to develop a specific style or aesthetic for my work this semester as a way to tie my project together. I also really enjoy his work because of the everyday nature of his subject matter and how he creates an emotion with it. It's encouraging to see work that is so successful without being overly complicated.
Bio:
Keith Carter is an internationally recognized photographer and educator. Born in Madison, Wisconsin in 1948,he holds the endowed Walles Chair of Art at Lamar University Beaumont, Texas. He is the recipient of two National Endowment for the Arts Regional Survey Grants and the Lange-Taylor Prize from The Center for Documentary Studies at Duke University. In 1997 Keith Carter was the subject of an arts profile on the national network television show, CBS Sunday Morning. In 1998, he received Lamar University's highest teaching honor, the University Professor Award, and he was named the Lamar University Distinguished Lecturer.
Quotes:
"It’s not that these pictures are telling you things you didn’t already know, but rather that... they’re reminding you of things you’ve deep down always known but somehow forgotten, because life has a nasty habit of simply becoming too daily, too dependent on thought at the expense of feel (Wittliff)."
"Working in black and white, and citing Henri Cartier-Bresson and Eugene Atget as seminal influences, Carter favors a classical style of photography that's a bit out of vogue at the moment, but never really loses its audience. Conceptually straightforward and unabashedly beautiful, Carter's timeless, graceful pictures are like the photographic equivalent of comfort food--looking at them makes you feel better (McKENNA)."
Interview:
http://articles.latimes.com/1994-08-09/entertainment/ca-25318_1_keith-carter
Representation:
Howard Greenberg Gallery
http://www.howardgreenberg.com/
Catherine Edelman Gallery
http://www.edelmangallery.com/
McMurtrey Gallery
http://www.mcmurtreygallery.com/
G. Gibson Gallery
http://www.ggibsongallery.com/
Photographs Do Not Bend Gallery
http://www.pdnbgallery.com/Site/HOME.html
Photo Eye Gallery
http://www.photoeye.com/Gallery/
Stephen L. Clark Gallery
http://www.artnet.com/gallery/239/stephen_l_clark_gallery.html
A Gallery for Fine Photography
http://www.agallery.com/
Artist Website:
http://www.keithcarterphotographs.com/home.html
BIBLIOGRAPHIC CITATION:
McKenna, Kristine. "A Poet of the Ordinary." Los Angeles Times 09 Aug 1994, Print.
[NOTE: Italicize "Los Angeles Times"]
Wittliff, Bill. "An Essay." Keith Carter Photographs. N.p., n.d. Web. 13 Sep 2010..
PARENTHETICAL CITATION:
(McKenna), (Wittliff).
Bio:
Keith Carter is an internationally recognized photographer and educator. Born in Madison, Wisconsin in 1948,he holds the endowed Walles Chair of Art at Lamar University Beaumont, Texas. He is the recipient of two National Endowment for the Arts Regional Survey Grants and the Lange-Taylor Prize from The Center for Documentary Studies at Duke University. In 1997 Keith Carter was the subject of an arts profile on the national network television show, CBS Sunday Morning. In 1998, he received Lamar University's highest teaching honor, the University Professor Award, and he was named the Lamar University Distinguished Lecturer.
Quotes:
"It’s not that these pictures are telling you things you didn’t already know, but rather that... they’re reminding you of things you’ve deep down always known but somehow forgotten, because life has a nasty habit of simply becoming too daily, too dependent on thought at the expense of feel (Wittliff)."
"Working in black and white, and citing Henri Cartier-Bresson and Eugene Atget as seminal influences, Carter favors a classical style of photography that's a bit out of vogue at the moment, but never really loses its audience. Conceptually straightforward and unabashedly beautiful, Carter's timeless, graceful pictures are like the photographic equivalent of comfort food--looking at them makes you feel better (McKENNA)."
Interview:
http://articles.latimes.com/1994-08-09/entertainment/ca-25318_1_keith-carter
Representation:
Howard Greenberg Gallery
http://www.howardgreenberg.com/
Catherine Edelman Gallery
http://www.edelmangallery.com/
McMurtrey Gallery
http://www.mcmurtreygallery.com/
G. Gibson Gallery
http://www.ggibsongallery.com/
Photographs Do Not Bend Gallery
http://www.pdnbgallery.com/Site/HOME.html
Photo Eye Gallery
http://www.photoeye.com/Gallery/
Stephen L. Clark Gallery
http://www.artnet.com/gallery/239/stephen_l_clark_gallery.html
A Gallery for Fine Photography
http://www.agallery.com/
Artist Website:
http://www.keithcarterphotographs.com/home.html
BIBLIOGRAPHIC CITATION:
McKenna, Kristine. "A Poet of the Ordinary." Los Angeles Times 09 Aug 1994, Print.
[NOTE: Italicize "Los Angeles Times"]
Wittliff, Bill. "An Essay." Keith Carter Photographs. N.p., n.d. Web. 13 Sep 2010.
PARENTHETICAL CITATION:
(McKenna), (Wittliff).
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